Published in the same year as his book Paris, where he used the pseudonym Moï Ver, this small volume was his contribution to the important Schaubucher Series. A key document showing the conditions in the Jewish ghetto in the Lithuanian city of Vilnius during the years before World War II, it is also an example of the photographer's Modernist style, which integrates a variety of New Vision styles. The inventive photographic mise-en-page was ahead of its time; it is similar to that used by Ilya Ehrenburg and El Lissitzky in Moi Parizh , which was published two years later. As Parr and Badger explain, "[Moï Ver] also introduced cinematic cutting and montaging techniques to heighten the interest. He combined elements of imagery, sometimes by double-printing negatives, sometimes by repeating identical or similar pictures, sometimes by pasting different photographs together, often with self-conscious free-form edges. Strangely, all this modernist-formalist tinkering does not detract from the book's documentary value...Moï Ver remains a singular figure in photobook history, and this little volume, while not as radical as Paris, is a laudable attempt to make something interesting from a fairly routine assignment."